• KSCE Journal of Civil and Environmental Engineering Research
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• v.6 no.1
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• pp.87-94
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• 1986

Under natural condition, many rivers had shallow and gently curved shape in plane. A two dimensional mathematical model of the flow was a very attractive one. The flow characteristics in bended open channels were analyzed. The mathematical model based on the mass and the momentum equation of the two-dimensional unsteady flow was developed by introducing finite difference method and the double sweep algorithm. For the purpose of the verification of this model, the modeling results were applied to the L.F.M flume and the I.I.H.R flume. The results had a good agreement with the experimental data of the flumes. The results could be more close to the experimental data by controlling Chezy Coefficients in order to reduce the effect of friction around side wall, and be studied the importance of the convective term. The water surface profile, the direction and scale of depth average mean velocity and the path of the thread of maximum velocity in bended open channels could be computed.

• Journal of Korean Association for Spatial Structures
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• v.12 no.1
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• pp.109-119
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• 2012

For membrane structure, there are three main steps in design and construction, which are form finding, statistical load analysis, and cutting patterning. Unlike the first two stages, the step of cutting pattern involves the translation of a double-curved surface in 3D space into a 2D plane with minimal error. For economic reasons, the seam lines of generated cutting patterns rely greatly on the geodesic line. Generally, as searching regions of the seam line are plane elements in the step of shape analysis, the seam line is not a smooth curve, but an irregularly divided straight line. So, it is how we make an irregularly divided straight line a smooth curve that defines the quality of the pattern. Accordingly, in this paper, we analyzed interpolation schemes using spline, and apply these methods to cutting pattern generation on the curved surface. To generate the pattern, three types of spline functions were used, i.e., cubic spline function, B-spline, and least-square spline approximation, and simple model and the catenary-shaped membrane was adopted to examine the result of generation. The result of comparing the approximation curves by the number of elements and the number of extracted nodes of simple model revealed that the seam line for less number of extracted nodes with large number of elements were more efficient, and the least-square spline approximation provided smoother seam line than other methods.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.8 s.145
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• pp.1168-1175
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• 2005

Clothing pressure has close relation with clothing comfort and depends on the pattern and properties of textile fabrics. Choosing a suitable clothing pressure is an essential factor for designing functional clothing such as the foundation for reshaping of a body contour or medical items for bum patient, and etc. However, it is hard to measure pressure values at the curved surface of a human body correctly. Recently, an air pack type pressure sensor, which has relatively excellent performance has been used to measure clothing pressure, however, it is still inconvenient to apply because it is a contact- type sensor. Therefore, in this paper, we suggest an indirect method that can measure clothing pressure without touching the subject by improving the equation of Kirk and Ibrahim (1966). However, confusions have been occurred when someone use the equation since the definition of parameters are somewhat vague. Furthermore, the estimated clothing pressure obtained by the previous method are quite different from the real values because this method does not consider the 3D effect of a human body and property changes of a transformed fabric. In this paper, the direction of principal stress and the radius of curvature in the principal direction were searched in the 3D image of the deformed girdle to get more accurate clothing pressure. The estimated clothing pressure was verified by comparing the result of the air pack type pressure sensor. It was found that the accuracy of the pressure estimation was improved by considering the 3D curvature of human body and the directional characteristics of textile fabrics.

• Journal of the Korean Arthroscopy Society
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• v.4 no.2
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• pp.154-158
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• 2000

Purpose : The purpose of this study is to demonstrate changes in the orientation ortho glenohumeral ligaments(GHL) in different degrees of abduction and rotation of the normal healthy individuals. Materials and Methods : Saline Magnetic Resonance(MR) arthrography of nine consecutive shoulders of normal healthy adults were checked. At that time, MR images were obtained in three different positions of abduction and external rotation($0^{\circ}C\;and\;0^{\circ},\;45^{\circ}C\;and\;25^{\circ}C,\;90^{\circ}$ and maximum, respectively). From a series of consecutive MRI, three-dimensional images were reconstructed after detecting the location of the middle glenohumeral ligament(MGHL) and the inferior glenohumeral ligament(IGHL) using workstation computer. Results : The shape of the MGHL was taken in double curved, and straight, and finally curved again in three different positions of the shoulder in sequence. On the other hand, the shape of the IGHL was obliquely positioned, and curvilinear, and finally straight and extended at lower part of the anterior surface of the humeral head. Conclusions : At $45^{\circ}$ of abduction and $25^{\circ}$ of external rotation, and at $90^{\circ}$ of abduction and maximal external rotation of the shoulder, the MGHL and the IGHL had the role of the most important static stabilizer of the glenohumeral joint repectively.

• The Research Journal of the Costume Culture
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• v.3 no.2
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• pp.241-260
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• 1995

The Maori's traditional clothing materials, basic forms of dress, and the pattern and technique of tatoo were examined in the present study in order to deepen the appreciation of the cultural heritage of the Maori. The research method employed was the analysis of written materials. And a fild-trip was also made for the study. The study was limitted to the traditional culture of body adornment of the Maori including the clothing which is preserved and practicing by them at the present day, and the origin and the process of the historical development of those are not included in the scope of the present study. Followings are the results of the study: (1) By far the most widely used fiber for Maori clothing is abtained from what is commonly called New Zealand Flax. The fiber of kiekie(Freycinetia baueriana) and cabbage trees(Cordyline spp.) may also be used. The strong, long-lasting fiber of toi(cordyline indivisa) is used for a prestige warrior's cloak. Flat strips of ti kauka(Cordyline australi) are also used as thatch on rain cloaks. (2) Regardless of technique used, Maori weaving is always worked horizontally from left to right. Traditionally the work was suspended between two upright turuturu or weaving sticks. As the work progressed a second pair of uprights was used to keep the work off the ground. These uprights were moved forward as required. Because the weaver sat on the ground, the working edge was kept at a height that was comfortable to reach. No weaving tools are used, the wefts(aho) being manipulated by the fingers. The two main Maori weaving techniques are whatu aho patahi(single-pair twining) and whatu aho rua(double-pair twining). (3) The Maori wore two basic garments - a waist met and a cloak. The cloth of commoners were of plain manufacture, while those of people of rank were superior, sometimes being decorated with feather or dyed tags and decorated borders. Children ran more-or-less naked until puberty, being dressed only for special events. Some working dress consisted of nothing more than belts with leaves thrust under them. Chiefs and commoners usually went barefoot, using rough sandals on journeys over rough country (4) The adornment of men and women of rank was an important matter of tribal concern as it was in chiefly persons that prestige of the group was centred, The durable items of Maori persons adornment were either worn or carried. Ornaments of various kinds were draped about the neck or suspended from pierced earlobes. Combs decorated the head. Personal decorations not only enhanced the appearance of men and women, but many had protective magical function. The most evident personal ornament was the hei-tiki made of jade or other material. Maori weapons were treasured by their owners. They served on bottle and were also personal regalia. A man of rank was not fully dressed without a weapon in hand. Also weapons were essential to effective oratory. (5) No man or woman of rank went without some tattoo adornment except in extremely rare instances when a person was too sacred to have any blood shed. The untattooed were marked as beeing commoners of no social standing. This indelible mark of rank was begun, with appropriate rite and ritual, at puberty. And tattoo marked the person as being of a marriageable age. Maori tattoo was unlike most traditional tattoo in that its main line were 'engraved' on the face with deep cuts made by miniature bone chisels. The fill-in areas were not tattooed with cuts but with the multiple pricks of small bone 'combs' that only lightly penetrated the skin surface. The instrument of tattoo consisted of small pots of pumice or wood into which was placed a wetted black pigment made from burnt kauri gum, burnt vegetable caterpillars or other sooty materials. A bird bone chisel or comb set at right angles on a short wooden handle was dipped into the gigment, that a rod or stick was used to tap head of this miniature adze, causing penetration of the skin surface. Black pigment lodged under the skin took on a bluish tinge. A full made facial tattoo consisted of major spirals with smaller spirals on each side of the nose and sweeping curved lines radiating out from between the brows over the forehead and from the nose to the chin. The major patterns were cut deep, while the secondary koru patterns were lightly pricked into the skin.